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Youth unemployment in the UK remains around the one million mark, with many young people from impoverished backgrounds becoming and remaining NEET (Not in Education, Employment, or Training). However, the NEET categorisation covertly disguises and obscures the significance of the diverse range of activities, achievements and accomplishments of those who operate in the informal creative economy. With grime music and its related enterprise a key component of the urban music economy, this book employs the inherent contradictions and questions that emerge from an exploration of the grime music scene to build a complex reading of the socio-economic significance of urban music. Incorporating insightful dialogue with the participants in this economy, White challenges the prevailing wisdom on marginalised young people, whilst also confronting the assumption that the inertia and localisation of the grime culture results from its close links to NEET "members" and the informal sector. Offering an ethnographic and timely critique of the NEET classification, this compelling book would be suitable for undergraduate and post-graduate students interested in urban studies, business, work and labour, education and employment, ethnography, music, and cultural studies.
The first reference book all about the business side of gospel and urban music. Hip-hop and R&B hold 25 percent of the consumer music market. Another 20 percent is held by religious (gospel and Christian) music, soul, disco, dance, and jazz. Here’s the first reference book to offer sound business and legal advice specifically tailored to these areas of the music industry. Securing a record deal, starting a label, publishing music, marketing and promoting—this is the information that today’s musicians need. With insightful examples, quotes, and anecdotes from dozens of top artists and executives, This Business of Urban Music is entertaining as well as informative. Author James J. Walker, Jr., is a leading entertainment lawyer, representing such well-known clients as Cole, Jamie Foxx, DMX, and many others. Now he brings his years of professional expertise in litigation, business, intellectual property, and corporate law to This Business of Urban Music—at a price every aspiring musician can afford.
Youth unemployment in the UK remains around the one million mark, with many young people from impoverished backgrounds becoming and remaining NEET (Not in Education, Employment, or Training). However, the NEET categorisation covertly disguises and obscures the significance of the diverse range of activities, achievements and accomplishments of those who operate in the informal creative economy. With grime music and its related enterprise a key component of the urban music economy, this book employs the inherent contradictions and questions that emerge from an exploration of the grime music scene to build a complex reading of the socio-economic significance of urban music. Incorporating insightful dialogue with the participants in this economy, White challenges the prevailing wisdom on marginalised young people, whilst also confronting the assumption that the inertia and localisation of the grime culture results from its close links to NEET "members" and the informal sector. Offering an ethnographic and timely critique of the NEET classification, this compelling book would be suitable for undergraduate and post-graduate students interested in urban studies, business, work and labour, education and employment, ethnography, music, and cultural studies.
Here s the first reference book to offer sound business and legal advice specifically tailored to these areas of the music industry. Securing a record deal, starting a label, publishing music, marketing and promoting - this is the information that today s musicians need. With insightful examples, quotes, and anecdotes from dozens of top artists and executives, This Business of Urban Music is entertaining as well as informative. Author James J. Walker, Jr., is a leading entertainment lawyer, representing such well-known clients as Cole, Jamie Foxx, DMX, and many others. Now he brings his years of professional expertise in litigation, business, intellectual property, and corporate law to This Business of Urban Music - at a price every aspiring musician can afford.
Specifically designed for urban talent who believe they have the potential to set up and successfully run their own entrepreneurial ventures, keeping 100 percent of the copyrights to their visuals and musical works, this text reveals the best methods for becoming an entertainment entrepreneur.
Introduction to the Music Industry: An Entrepreneurial Approach, Second Edition is an introductory textbook that offers a fresh perspective in one of the fastest-changing businesses in the world today. It engages students with creative problem-solving activities, collaborative projects and case studies as they explore the inner workings of the music business, while encouraging them to think like entrepreneurs on a path toward their own successful careers in the industry. This new edition includes a revised chapter organization, with chapters streamlined to focus on topics most important to music business students, while also maintaining its user-friendly chapter approach. Supported by an updated companion website, this book equips music business students and performance majors with the knowledge and tools to adopt and integrate entrepreneurial thinking successfully into practice and shape the future of the industry.
If you love making music, it's one of the most fulfilling ways to earn a living. Whether it's your full-time job or a lucrative side-gig, selling music is a creative way to make money doing something you love. But what if the money's not there? Selling your music doesn't come with any guarantees. For a lot of musicians, the siren song of a profitable music career just isn't worth the risk. Making money from music isn't easy, but it's not impossible. Follow this guide to get started as a music entrepreneur. Focusing on the needs of the up-and-comer, this is a book for striving artists, managers, producers, and even the general hip-hop junkie. In this premier book, the author covers all the basics: from choosing the right platform to marketing through social media to touring to naming the song. He describes a world unknown to many by including his own experiences as a hopeful and ambitious manager and delves into client communication, growth strategies, and more.
COVID-19 had a global impact on health, communities, and the economy. As a result of COVID-19, music festivals, gigs, and events were canceled or postponed across the world. This directly affected the incomes and practices of many artists and the revenue for many entities in the music business. Despite this crisis, however, there are pre-existing trends in the music business – the rise of the streaming economy, technological change (virtual and augmented reality, blockchain, etc.), and new copyright legislation. Some of these trends were impacted by the COVID-19 crisis while others were not. This book addresses these challenges and trends by following a two-pronged approach: the first part focuses on the impact of COVID-19 on the music business, and the second features general perspectives. Throughout both parts, case studies bring various themes to life. The contributors address issues within the music business before and during COVID-19. Using various critical approaches for studying the music business, this research-based book addresses key questions concerning music contexts, rights, data, and COVID-19. Rethinking the music business is a valuable study aid for undergraduate and postgraduate students in subjects including the music business, cultural economics, cultural management, creative and cultural industries studies, business and management studies, and media and communications.